Considered a "Christian Socrates" by one critic and a "hieroglyph stylist" by another, Cyprian Norwid was more unanimously recognized, however, as one of the most vital figures in Polish letters whose verse is as idiosyncratic as it is profound. Traveling against the currents of the philosophy of his day, Norwid was a historicist with deep insight into the codes and ripples in the society around him. This engaging bilingual collection, selected and translated from the Polish by Danuta Borchardt, includes many of Norwid's revered poems, including Vademecum. True to its Latin summons, "go with me," the epic poem invites the reader to accompany Norwid on a journey though many lands and timeless question, seeking truth. We witness Norwid decrying the tight-fisted city folk of London, befriending Frédéric Chopin – whom he meets during his travels, and lamenting the death of a friend. Lyrical, moving and often biting, this collection gives an evocative glimpse into the world of an extraordinary poet.
‘Perhaps some day I’ll disappear forever,’ muses the master-builder Psymmachus in Cyprian Kamil Norwid’s Cleopatra and Caesar, ‘Becoming one with my work...’ Today, exactly two hundred years from the poet’s birth, it is difficult not to hear Norwid speaking through the lips of his character. The greatest poet of the second phase of Polish Romanticism, Norwid, like Gerard Manley Hopkins in England, created a new poetic idiom so ahead of his time, that he virtually ‘disappeared’ from the artistic consciousness of his homeland until his triumphant rediscovery in the twentieth century. Chiefly lauded for his lyric poetry, Norwid also created a corpus of dramatic works astonishing in their breadth, from the Shakespearean Cleopatra and Caesar cited above, through the mystical dramas Wanda and Krakus, the Unknown Prince, both of which foretell the monumental style of Stanisław Wyspiański, whom Norwid influenced, and drawing-room comedies such as Pure Love at the Sea Baths and The Ring of the Grande Dame which combine great satirical humour with a philosophical depth that can only be compared to the later plays of T.S. Eliot. All of these works, and more, are collected in Charles S. Kraszewski’s English translation of Norwid’s Dramatic Works, which along with the major plays also includes selections from Norwid’s short, lyrical dramatic sketches — something along the order of Pushkin’s Little Tragedies. Cyprian Kamil Norwid’s Dramatic Works will be a valuable addition to the library of anyone who loves Polish Literature, Romanticism, or theatre in general.
Considered a "Christian Socrates" by one critic and a "hieroglyph stylist" by another, Cyprian Norwid was more unanimously recognized, however, as one of the most vital figures in Polish letters whose verse is as idiosyncratic as it is profound. Traveling against the currents of the philosophy of his day, Norwid was a historicist with deep insight into the codes and ripples in the society around him. This engaging bilingual collection, selected and translated from the Polish by Danuta Borchardt, includes many of Norwid's revered poems, including Vademecum. True to its Latin summons, "go with me," the epic poem invites the reader to accompany Norwid on a journey though many lands and timeless question, seeking truth. We witness Norwid decrying the tight-fisted city folk of London, befriending Frédéric Chopin – whom he meets during his travels, and lamenting the death of a friend. Lyrical, moving and often biting, this collection gives an evocative glimpse into the world of an extraordinary poet.
Perhaps some day I'll disappear forever, ' muses the master-builder Psymmachus in Cyprian Kamil Norwid's Cleopatra and Caesar, 'Becoming one with my work...' Today, exactly two hundred years from the poet's birth, it is difficult not to hear Norwid speaking through the lips of his character. The greatest poet of the second phase of Polish Romanticism, Norwid, like Gerard Manley Hopkins in England, created a new poetic idiom so ahead of his time, that he virtually 'disappeared' from the artistic consciousness of his homeland until his triumphant rediscovery in the twentieth century. Chiefly lauded for his lyric poetry, Norwid also created a corpus of dramatic works astonishing in their breadth, from the Shakespearean Cleopatra and Caesar cited above, through the mystical dramas Wanda and Krakus, the Unknown Prince, both of which foretell the monumental style of Stanislaw Wyspiański, whom Norwid influenced, and drawing-room comedies such as Pure Love at the Sea Baths and The Ring of the Grande Dame which combine great satirical humour with a philosophical depth that can only be compared to the later plays of T.S. Eliot. All of these works, and more, are collected in Charles S. Kraszewski's English translation of Norwid's Dramatic Works, which along with the major plays also includes selections from Norwid's short, lyrical dramatic sketches - something along the order of Pushkin's Little Tragedies. Cyprian Kamil Norwid's Dramatic Works will be a valuable addition to the library of anyone who loves Polish Literature, Romanticism, or theatre in general. Translated from the Polish and introduced by Charles S. Kraszewski. This book has been published with the support of the (c)POLAND Translation Program. Publishers Maxim Hodak & Max Mendor.
The Bishop of Carthage, one of the most illustrious in the early history of the church, and one of the most notable of its early martyrs, was born about the year 200, probably at Carthage. He was of patrician family, wealthy, highly educated, and for some time occupied as a teacher of rhetoric at Carthage. Of an enthusiastic temperament, accomplished in classical literature, he seems while a pagan to have courted discussion with the converts to Christianity. Confident in his own powers, he entered ardently into what was no doubt the great question of the time at Carthage as elsewhere. He sought to vanquish, but was himself vanquished by, the new religious force which was making such rapid inroads on the decaying paganism of the Roman empire. Caecilianus (or Caecilius), a presbyter of Carthage, is supposed to have been the instrument of his conversion, which seems to have taken place about 246. This edition contains all 82 epistles that the Bishop of Carthage wrote, as well as a big selection of his treatises.
Although it is highly unlikely that the text is by the historical St Cyprian, this does not detract from its extraordinary contents. This is a Solomonic manuscript unlike the more rustic Black Books of Wittenburg (Scandinavia), or the Catholic Cyprianic texts of the Iberian peninsula. Its lineage is from the "Heptameron," the Faustbooks of Germany, and the "Goetia." It addresses the summoning and use of the four Archangels, Michael, Raphael, Gabriel and Uriel as well as their opposite numbers, the four Demon Kings, Paymon, Maimon, Egyn and Oracus (Oriens). The later are drawn in their animal and human forms along with their sigils, a resource unique amongst grimoires. The text is in a mixture of three magical scripts, Greek, Hebrew, cipher, Latin, and reversed Latin with many shortforms, but these are expanded and made plain by the editors. The title of the manuscript, "Clavis Inferni sive magia alba et nigra approbata Metratona," literally means 'The Key of Hell with white and black magic as proven by Metatron'.
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